徒弟陈小川曾靠卖低价掺假煤抢生意，一场婚宴烧煤事故让他身败名裂，赔光了全部家底。师父陈万山始终坚守煤品质量底线，不趁寒潮坐地起价，反而因此拿下了县运输站二十万斤的长期稳定订单。走投无路的陈小川重回师父的煤场，从扛煤筛料的基础活干起，重新学手艺，也重新学习为人立身的根本。

Coal Face (1935) was the first influential film to be made by the GPO Film Unit. It continued the experimentation with sound effects and music first initiated in Song of Ceylon (d. Basil Wright, 1934) and Pett and Pott (d. Alberto Cavalcanti, 1934), and was described in the Film Society programme of 27 October 1935 as "an experiment in sound". What links these three films is the contribution of Alberto Cavalcanti. Cavalcanti had been a member of the French avant-garde film movement during the 1920s and, by 1934, had established a reputation for himself as an expert on the creative use of sound and music in film. In 1934 the British documentary film movement acquired a rudimentary sound system, enabling its filmmakers to make sound films for the first time; it was at this point that Cavalcanti was appointed. Coal Face was one of the most overtly modernist films made within the movement, comparing only to Drifters (d. John Grierson, 1929) in its use of formalist montage techniques. In addition to a montage editing style largely derived from the Soviet cinema of the 1920s, however, Coal Face also experiments extensively with a variety of sound/image relationships. Although Cavalcanti was responsible for the overall orchestration of sound and music, W.H. Auden and Benjamin Britten were also contracted to write the script and music score respectively. The film's narrative is relatively conventional, providing details on the structure of the coal industry, and the processes used for extracting and treating coal. However, one of the strategies adopted by the documentary movement was to explore the creative possibilities of filmmaking within the framework of such conventional narratives, and here this takes the form of a non-naturalistic deployment of sound, language and music, so that natural sounds, dialogue, speech, music and choral singing are integrated in a dramatic, often strident manner. Coal Face was an important film both for its innovative aesthetic style and for its ability to express critical social comment (noting, for example, the accident rates in the mines) in a film which was, in effect, made for a government department and sponsored by a commercial industry.

弟弟赵成金以低价抢走哥哥赵成钢的全部订单，赵成钢虽陷困境仍坚守品质。廉价煤问题频发后真相大白，他不计前嫌帮乡亲渡难关，凭好煤赢得县城市场，让诚信胜出。

A young girl struggles to create a relationship with her father after the death of her aunt who raised her.

青春叛逆的帅“稻米”苏一飞因为跟父亲较劲，非要亲身体验一把盗墓的刺激，把盗洞口选在了目的地隔壁一处废弃的老厝里，却没想到这老厝是民国当年的永春…

师徒乐是陈佩斯早期拍摄并表演的戏剧小品，讲述了师徒二人尝试各种职业的辛酸搞笑故事。

千禧年，机械厂骨干沈秀兰因一件小事被学徒举报受处分，心冷停了带教工作。学徒借机上位却能力不足屡屡受挫，几经坎坷踏实逆袭。沈秀兰潜心钻研技艺终成首席技师，二人久别重逢，终懂规矩守本心的道理。

张卓颖对毒贩李浩交易毒品实施抓捕中，发现交易的毒品换成了滑石粉，在郑霄的指示下，张卓颖声称抓错人离开。 民警汪行健巡夜时，偶然发现 “啃脸男”是吸食毒品后出现幻觉导致异常行为，同事老胡却否定。 队长郑霄发现对方马仔，曾因吸毒被白炜抓过，担心白炜被马仔认出，决定亲自出马，与李浩交易。李浩用各种方法试探郑霄，张卓颖等人无法和郑霄取得联系，心急如焚。汪行健出招和张卓颖假扮夫妻上演捉奸闹剧，与郑霄取得联系。

公元1472年，王伦根据夫人的梦境给刚出生的孙子取名王云，后又改名为王守仁。王守仁出生在一个名宦之家。他少年志高，入仕后明辨善断，为民申冤。王守仁因上疏营救言官而得罪阉党，被廷杖后被贬往贵州龙场驿，在那里王守仁发现了一个山洞，起名为阳明洞。由于王守仁早年就诗名在外，远近诸生纷纷前来就学，一块蛮荒不毛之地，就这样成了其乐融融的传道讲学之所。王守仁数年面壁一朝顿悟，悟出了“圣人之道，吾性自足”，“知行合一”，即是他苦苦思索后的悟道所得。复官后，他整饬吏治，抑强止盗，减轻民负，又率军平定宁王叛乱，维护社会安宁。因皇帝昏庸，政治腐败，小人猖狂，他极度失望，心力交瘁，但其学说却广泛流布，影响后世。

八十年代山村，地头蛇赵大山一伙仗势霸占资源、欺压村民，肆意侵占陈家兄弟开荒熟地、百般打压。农大调研生苏清禾目睹不公，传授农技帮陈家开荒，助力众人收集赵家作恶证据、普及政策。赵大山妻子张翠花正直向善，屡劝家人无果，暗中接济乡邻、事后据实作证。最终执法部门查实罪行，赵家团伙被依法惩处。陈家土地确权，众人携手致富，陈建军与苏清禾互生情愫，扎根乡村带领全村共同增收。